By Brian Kane. Ballads have long been. Saxophone Journal Masterclass

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Masterclass Ballads have long been recognized by musicians as one of the most difficult idioms to perform and teach.

Players must be able to use stylistic inflections, vibrato, and rhythmic interpretation to interpret the melody in the same way a vocalist would.

All of the techniques discussed in that article will be demonstrated on each of the melodies on this CD masterclass and should be practiced with the playalong tracks provided.

As I created this masterclass I ve come to appreciate that ballad soloing can be a fantastic laboratory to explore virtually every type of improvisational concept.

1 Masterclass Ballads have long been recognized by musicians as one of the most difficult idioms to perform and teach. Playing a ballad requires a high level of maturity, musicianship and variety of interpretive skills. Players must be able to use stylistic inflections, vibrato, and rhythmic interpretation to interpret the melody in the same way a vocalist would. I wrote quite a bit about these melodic interpretive techniques in the March/April 2008 issue of and I encourage readers to go back and take a look at that back issue if a refresher is needed. All of the techniques discussed in that article will be demonstrated on each of the melodies on this CD masterclass and should be practiced with the playalong tracks provided. The other focus of this masterclass is to propose some approaches to improvising melodically over ballads. Soloing over ballads is tough! As I created this masterclass I ve come to appreciate that ballad soloing can be a fantastic laboratory to explore virtually every type of improvisational concept. But for the scope of this CD, I will limit my suggestions to a few simple techniques that help improvisers create rich melodic solos. My favorite ballads have always been the beautiful recordings of the 1940 s by players like Lester Young, Ben Webster, and Coleman Hawkins. I love that on many of their recordings they successfully blur the line so that you can t tell where the melody ends and the solo begins. The best solos in this idiom are the ones that sneak up on you and are without a clear delineation between melodic interpretation and improvisation. The techniques in this masterclass are designed to help you create some solos where the melody/improvisation lines are equally blurry. By APPROACH ONE USING MELODIC EMBELLISHMENTS FOR SOLOS I have had hundreds of encounters with students over the years where, despite having an excellent command of their instrument, a high level of technical proficiency, and solid understanding of harmony, they say I don t know what to play at the beginning of a solo. The simple fact is, that for many young players, the endless possibilities and choices that improvisation presents are overwhelming. These players need to limit their improvisational choices in order to begin a solo tastefully. The limitations that I will mention not only help ensure improvisers begin, but can also be a great pacing tool for more advanced improvisers. Nobody wants to hear a ballad solo that begins by sounding aggressive and busy. The following techniques can help a soloist begin melodically by manipulating and restating a melody. Use the lyrics to alter the rhythmic phrasing of the melody. If you re not sure what this means, read the first sentence again and accent every other word, the whole sentence will sound quite different. Restating the melody with a different pentameter is a great way to start a solo. Focus on adding style inflections like scoops, glissando s, falls and turns and any of the dozens of other possibilities to embellish and disguise the melody. Add passing tones and chromatic approaches to the existing melody to enhance and disguise it. Most importantly at this point, if you wouldn t sing it, don t play it. I encourage students to begin their ballad solos using these types of techniques. I think it encourages awareness of pacing and intensity and successfully blends the end of the melody with the beginning of a solo. I used this technique over the first eight measures of the solo in Newborn and an example solo transcription has been provided as part of the masterclass. APPROACH 2 CREATING NEW MELODIC IMPROVISATION Each of the ballads that I wrote for this masterclass has a relatively simply chord progression. I will not waste any space writing about any particular harmonic analysis or chord scale uses for these songs. Suffice to say, it s important to be aware of the harmonic choices available within the changes and to play notes that work. Here are some simple melodic approaches to playing over chord progressions. Use the rhythmic pentameter of the lyrics to create new melodies. There are countless rhythmic variations to the pentameter of any sentence and the same is true for lyrics of any song. Using the lyrics as a rhythmic guide can help soloists create taste- 43

2 ful sensitive solos while they navigate the chord changes. Examples of this melodic technique are given on the example solo transcriptions to Forget Me Not and Fleeting Glimpse. This is hands-down my favorite approach to playing ballad solos that blur the line between melody and improvisation. Use Improvisational Motifs. Motivic playing is probably the most comprehensive melodic tool to use when improvising over a ballad. I focus primarily on using rhythmic motifs over these demonstration solos. A rhythmic motif occurs when musicians repeat the rhythm of a previously improvised melodic phrase. To demonstrate the motifs, I play the same or similar rhythms several times in a row while changing notes. It would be equally correct to go back and restate the same rhythmic motif at different points in a solo. On the recording, I use rhythmic motifs quite a bit. If you d like to hear some examples of this technique, listen to track 8 on the CD for an explanation. A NOTE ABOUT LYRICS Lyrics play an extremely important melodic and compositional part of every jazz standard, particularly ballads. Lyrics can dictate phrasing, melodic emphasis, style inflection and dynamics. But unfortunately, it s common that players fail to take the time Swing Ballads Masterclass By Track Title 1...Introduction 2...Forget Me Not (solo explanation and example) 3...Forget Me Not (full performance) 4...Forget Me Not (play-along track) 5...Newborn (solo explanation and example) 6...Newborn (full performance) 7...Newborn (play-along track) 8...Fleeting Glimpse (solo explanation and example) 9...Fleeting Glimpse (full performance) 10...Fleeting Glimpse (play-along track) HOW TO GET Eb ALTO SAXOPHONE PARTS ONLINE The Eb sheet music for s Swing Ballads masterclass is available online as a free PDF download at (scroll down to Sept/Oct 2010 Sax Journal) and click on appropriate link. to learn the lyrics to the songs they are playing. It s a shame to ignore the lessons that lyrics can teach us. The saxophone is capable of incredible vocal nuance, probably second only to the human voice and lyrics can help players explore melody with their own inner voices while improvising. The bottom line is, when you take the time to learn the lyrics, your interpretation and solos will be better as a result. I hope you have as much fun playing these ballads as I did writing and recording them. I hope you have fun blurring the line between melody and improvisation in this beautiful idiom. THE MUSICIANS Saxophone is a busy musician, educator and the director of Jazz Path Publishing. He has written dozens of articles on music education that have been published by the IAJE national journal, Music Teacher Magazine International, Choral Director Magazine, Jazz Ed Magazine and. He is the author of the books Constructing Melodic Jazz Improvisation Series, the Jazz Style and Technique Series, Creative Jazz Sight Reading, and the vocal technique book Singing Tongue Twisters A-Z and the popular free podcast Exploring Jazz Improvisation. Brian can be reached at Continued on page Track 2 Forget Me Not (solo explanation & example) Forget Me Not 2010 Jazz Path Publishing, All Rights Reserved, Used By Permission 44 September/October 2010

6 ...Continued from page 44 Piano Greg Rector is a Berklee College of Music graduate who has remained a professional in the Boston music industry for over 35 years. He has continually worked as a performer while being involved in the recording industry as a studio musician, arranger, and audio engineer, working on nationally broadcast shows for Nova, PBS and Frontline. He has been involved with synthesizers and music technology since the early 80 s, working for Kurzweil Music Systems, and currently Synthogy. Bass Whit Browne is an associate professor of bass at the Berklee College of Music. He has performed with Oscar Peterson, Dizzy Gillespie, Sonny Stitt, Joe Williams, Zoot Sims, Diana Krall, Kenny Burrell, and recorded with Gunther Schuller, Phil Wilson, Ray Santisi, Matt Grady and others. Whit has numerous television and radio appearances, has been a three-time Boston Music Awards nominee for outstanding bassist and a recipient of Harvard University certificate for Contribution to the Arts. Drums James Lattini is an assistant professor of percussion at the University of Massachusetts-Lowell. He has performed with Nick Brignola, Bobby Shew, Randy Brecker, Phil Wilson, Rebecca Paris, Jerry Bergonzi, George Garzone, and Bruce Gertz and many others. Jim has numerous CD, television and motion picture recording credits including the motion picture Analyze This and is featured on an upcoming CD release with Miles Donahue that also features Joe Calderazzo and John Patitucci. Jim endorses Vic Firth products and is a member of the Vic Firth Education Team. This masterclass CD was recorded at Blue Jay Studios, Carlisle Massachusetts ( and engineered by James Zaner. Track 8 Beginning Of First Chorus Fleeting Glimpse (solo explanationa & example) Fleeting Glimpse 2010 Jazz Path Publishing, All Rights Reserved, Used By Permission 48 September/October 2010

JAZZ STANDARDS OF A BALLAD CHARACTER. Key words: jazz, standard, ballad, composer, improviser, form, harmony, changes, tritone, cadence

Article received on February 25, 2007 UDC 785.161 JAZZ STANDARDS OF A BALLAD CHARACTER Abstract: In order to improvise, jazz musicians use small form themes often taken from musicals and movies. They are